Why these ten tunes?

The Anglo concertina is one of the most sociable instruments in British folk music, and the quickest way to feel at home with it is to learn the tunes that other people are already playing. The ten below are staples of folk clubs, tune sessions and morris practice nights across the UK, and every one of them sits comfortably under the fingers on a standard 20- or 30-button C/G Anglo. They are not exercises: they are real repertoire, the kind that gets called at a session and that you can join in with confidently.

Learn them slowly, in the order that suits you, and resist the urge to rush. A tune you can play at half speed with a steady pulse is worth far more than one you can only just keep up with.

Know your layout before you learn a note

The Anglo is a push-pull instrument: every button gives two different notes depending on whether you are squeezing or drawing. On a 20-button C/G, the C row sits on the inside nearest your hand bar and the G row on the outside, the two rows a fifth apart. Most of the tunes below live naturally in G, C, E minor or D, which is exactly what the instrument wants to do.

Three habits will serve you well from day one. Keep the bellows movement small and even rather than lurching in and out. Use the air button on the left end to reset the bellows quietly at the end of a phrase, rather than running out of air mid-tune. And when a tune sits awkwardly along one row, try crossing to the other row for a smoother phrase; cross-row playing is the difference between a player who fights the instrument and one who sings with it.

Three jigs to build your rhythm

• The Tenpenny Bit — a single jig in G with a short, repeating shape. Almost all of it lies on the G row, so you can learn it without crossing rows and concentrate on the lilt instead.
• Morrison's Jig — in E minor, this one gently forces some cross-row work on the right hand and teaches you where the E and B notes live on the draw. Learn it slowly; the second part rewards patience.
• The Irish Washerwoman — instantly recognisable and endlessly useful at sessions. It is excellent practice for keeping a jig's lift going when the bellows want to change direction on the offbeat.

Polkas and morris tunes

• The Keel Row — a song tune and a march, usually played in G or D. In G it is a fine introduction to the middle of the instrument, and it teaches you to breathe at the ends of phrases.
• Winster Gallop — a Derbyshire morris tune in G with a steady four-in-a-bar feel. It is ideal for developing the gentle in-and-out bounce that gives English dance music its pulse.
• Britches Full of Stitches — a two-part polka in G that is quick to memorise. Because it repeats so much, it is perfect for practising bellows changes exactly on the beat.
• Constant Billy — a morris jig in G that every side in the country seems to know. If you ever want to play for dancing, this is your way in.

Waltzes and slow airs

• The South Wind — a waltz in G, and one of the best tunes for learning phrasing. It gives you time to think about where the bellows should change and how to use the air button discreetly.
• Planxty Irwin — a Carolan melody, mostly stepwise, that encourages a smooth, legato style across the rows rather than punchy in-row playing.
• Sheebeg and Sheemore — another Carolan air, slow enough that you can hear every imperfection in your bellows control. Play it quietly and listen to the ends of the notes.

Playing them out — and keeping your box healthy

Once you can play three or four of these from memory, take them to a session or a folk club. Playing with others is the fastest tuition available, and most players are generous with beginners. Slow recordings, a metronome on the offbeats and a weekly habit of playing by ear will all move you on faster than any amount of reading. If you can, find a teacher or a workshop at a folk festival; a single hour of hands-on guidance can save months of confusion.

Your concertina will reward a little care. Keep it in its case with the bellows closed, away from radiators, damp cellars and cold lofts, and let it come to room temperature before playing after a journey. Wipe the ends with a dry cloth and never apply oil to reeds or springs. Check the hand straps and thumb straps regularly and replace them when they stretch, because loose straps make everything harder. If a note sounds breathy, or the instrument feels stiff and airy, look for leaks at the ends and along the bellows gussets; a leak turns a pleasant instrument into hard work. Sticking buttons usually mean a bent or worn lever, which is a job for a repairer rather than a screwdriver. Finally, if the tuning has drifted, have it seen to: a C/G Anglo should be at concert pitch, and nothing improves a session quite like being in tune with everyone else.